-prefix-free lets you use only unprefixed CSS properties everywhere. It works behind the scenes, adding the current browser’s prefix to any CSS code, only when it’s needed.
“[-prefix-free is] fantastic, top-notch work! Thank you for creating and sharing it.”
— Eric Meyer
<link> or <style> elements and adds a vendor prefix where neededstyle attribute and adds a vendor prefix where needed<link> or <style> elements, style attribute changes and CSSOM changes (requires plugin).css() method get and set unprefixed properties (requires plugin)@import-ed files is not supportedstyle attribute) won’t work in IE and Firefox < 3.6. Properties as well in Firefox < 3.6.Check this page’s stylesheet ;-)
You can also visit the Test Drive page, type in any code you want and check out how it would get prefixed for the current browser.
Just include prefixfree.js anywhere in your page. It is recommended to put it right after the stylesheets, to minimize FOUC
That’s it, you’re done!
The target browser support is IE9+, Opera 10+, Firefox 3.5+, Safari 4+ and Chrome on desktop and Mobile Safari, Android browser, Chrome and Opera Mobile on mobile.
If it doesn’t work in any of those, it’s a bug so please report it. Just before you do, please make sure that it’s not because the browser doesn’t support a CSS3 feature at all, even with a prefix.
In older browsers like IE8, nothing will break, just properties won’t get prefixed. Which wouldn’t be useful anyway as IE8 doesn’t support much CSS3 ;)
Test the prefixing that -prefix-free would do for this browser, by writing some CSS below:
The single most iconic scene in Wendel’s career occurs in Lucio Fulci’s gothic masterpiece. Wendel plays , a boy (yes, a cross-dressing role that adds to the film’s uncanny atmosphere) trying to escape the possessed house. The scene: Bob hides in a closet while the reanimated Dr. Freudstein pokes a butcher knife through the wooden door. Wendel’s reaction—a mix of silent tears, wide-eyed terror, and trembling lips—turns what could be a schlocky effect into genuine nightmare fuel. Her feral scream when the knife grazes her face is still studied by horror acting coaches.
The 1977 film Maladolescenza (also known as Spielen wir Liebe
Ionesco’s screen presence was characterized by a distinct "jolie laide" aesthetic and a melancholy gaze. In Maladolescenza , her scenes often involved a juxtaposition of vulnerability and dominance. Beyond her acting, her "scenes" in the public eye—specifically her later legal battles against her mother regarding the publication of controversial photographs—have become an integral part of her narrative, turning her life into a performance of reclaiming identity.
An 11-year-old girl whose arrival complicates the dynamic, leading to jealousy and increasingly violent "games".
, became the faces of a controversial and avant-garde era. Their paths crossed most famously in the Maladolescenza (also known as Spielen wir Liebe Playing with Love
: Fabrizio and Silvia blindfold Laura and threaten to throw her off a high tower, eventually pushing her through a hatch .
Since its original release, the film has undergone various levels of editing and censorship in different markets to remove content deemed inappropriate or illegal. Ethical Debates
The single most iconic scene in Wendel’s career occurs in Lucio Fulci’s gothic masterpiece. Wendel plays , a boy (yes, a cross-dressing role that adds to the film’s uncanny atmosphere) trying to escape the possessed house. The scene: Bob hides in a closet while the reanimated Dr. Freudstein pokes a butcher knife through the wooden door. Wendel’s reaction—a mix of silent tears, wide-eyed terror, and trembling lips—turns what could be a schlocky effect into genuine nightmare fuel. Her feral scream when the knife grazes her face is still studied by horror acting coaches.
The 1977 film Maladolescenza (also known as Spielen wir Liebe Lara Wendel Eva Ionesco Nude Scenes Of Maladolescenza
Ionesco’s screen presence was characterized by a distinct "jolie laide" aesthetic and a melancholy gaze. In Maladolescenza , her scenes often involved a juxtaposition of vulnerability and dominance. Beyond her acting, her "scenes" in the public eye—specifically her later legal battles against her mother regarding the publication of controversial photographs—have become an integral part of her narrative, turning her life into a performance of reclaiming identity. The single most iconic scene in Wendel’s career
An 11-year-old girl whose arrival complicates the dynamic, leading to jealousy and increasingly violent "games". Freudstein pokes a butcher knife through the wooden door
, became the faces of a controversial and avant-garde era. Their paths crossed most famously in the Maladolescenza (also known as Spielen wir Liebe Playing with Love
: Fabrizio and Silvia blindfold Laura and threaten to throw her off a high tower, eventually pushing her through a hatch .
Since its original release, the film has undergone various levels of editing and censorship in different markets to remove content deemed inappropriate or illegal. Ethical Debates